Word: parkes
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Dates: during 1940-1949
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...Product. The world of music had changed radically in the half century since brass bands pumped lugubriously before U.S. saloons and Americans fought mosquitoes at park concerts for the sweet sake of culture. Music was now a product to be seized by machinery, to be packaged, distributed and sold in wholesale lots. Canning and transmitting musical effects was a huge and complicated industry in which the artist, the advertiser, the salesman and the inventor fought ceaselessly for expression and profit. Its impact upon the people of the U.S. and the world was tremendous-it had given them both the Beethoven...
...became a force in Chicago, an intimate of Mayor Ed Kelly, and a park commissioner. He used these connections to "give service to the boys." He persuaded political candidates to abandon sound trucks for vanloads of live musicians during campaigns; he promoted municipally financed concerts in Grant Park. In 1939 he expressed his gratitude for this largesse with a concert honoring Mayor Kelly. In so doing he gave a dramatic demonstration of his own power. At his "suggestion," 23 band leaders, among them Paul Whiteman, Fred Waring, Tommy Dorsey and Kay Kyser, brought their orchestras to Chicago at their...
Another kids a Park Avenue theater...
...clerk in a Detroit police court and began to drink. First an alcoholic, then a dope addict, he lost his job, took to forgery, was arrested and finally committed to an insane asylum. Discharged at last, he began the same thing all over again. One night in a Detroit park, he recalls, "I got the jimmies-the D.T.s." At a Salvation Army headquarters, where he had been given a handout, he asked: "Do you think your Jesus could save me?" An officer advised him to go to the altar. "I went forward and I knelt and I asked Jesus...
...hearing only, or before tiny groups of enthusiasts. Few of his works had been recorded while he was alive, and they had not sold well. Rehearsal for Critics. On the same afternoon that San Franciscans were cheering the Bartók concerto, Yehudi Menuhin invited Manhattan critics to his Park Avenue apartment. Yehudi, dressed in a slack suit and bedroom slippers, wanted them to hear again a Bartók composition they had frowned on three years ago: a powerful sonata for unaccompanied violin which Bartók had written for Yehudi. Yehudi was going to play it again this...